WIPO NFC NCC National Seminar on Copyright for Film Professionals and Consultation with Audiovisual Industry Stakeholders

Transcription

1 E NIGERIAN FILM CORPORATION NIGERIAN COPYRIGHT COMMISSION SEMINAR AND CONSULTATION WIPO/CR/LAS/12/INF/PROV.1 ORIGINAL: ENGLISH DATE: MARCH 28, 2012 WIPO NFC NCC National Seminar on Copyright for Film Professionals and Consultation with Audiovisual Industry Stakeholders organized by the World Intellectual Property Organization in cooperation with the Nigerian Film Corporation (NFC) and the Nigerian Copyright Commission (NCC) Lagos, Nigeria, April 11 to 13, 2012 PROVISIONAL PROGRAM prepared by the International Bureau of WIPO

2 page 2 Wednesday, April 11, Registration Opening Ceremony Welcome addressed by: The Representative of the Nigerian Film Corporation (NFC) Goodwill messages by: The Representative of the Nigerian Copyright Commission (NCC) The Representative from the Nigerian Film and Video Censors Board (NFCB) The Representative of the National Broadcasting Commission (NBC) The Representative of the Nigerian Television Authority (NTA) The Representative of the World Intellectual Property Organization (WIPO) Topic 1 The Importance of Copyright for the Film Industry Ms. Donna Hill, Counsellor, Creators and Performers Support Division, WIPO, Geneva Mr. John O. Asein, Director, Nigerian Copyright Institute, NCC, Lagos Dr. Bankole Sodipo, G.O.Sodipo & Co., Lagos Topic 2 Setting the Scene: Nigeria and the Worldwide Film Market, President, Compliance Consulting, Los Angeles Mr. Madu Chikwendu, Chief Executive Officer, MCM, Lagos Mr. Rotimi Kusoro, Chairman, Highwaves Video Mart, Lagos Mr. James George, Project Team Leader, National Film Institute (NFI), Lagos Coffee Break

3 page Topic 3 Film Case Study: The Making of Half of a Yellow Sun, a novel by the Nigerian author Ms. Chimamanda Ngozi Adichie Ms. Andrea Calderwood, Producer, Half of a Yellow Sun, Slate Films, London Ms. Sandra Obiago, Assistant Producer, Half of a Yellow Sun, Lagos Ms. Yewande Sadiku, Co-Producer, Half of a Yellow Sun, Lagos Lunch Break Topic 4 Copyright in the Film-making Process: From Development to Production to Distribution to Exhibition The Beginning: The Importance of Chain of Title Documentation Establishing Ownership in Film Productions: A Broad Discussion of the Methods for Acquiring Underlying Property and Assuring Final Ownership of Copyright, including Scripts, Performances, Music, etc. Mr. Efere Ozako, Attorney, Wetin Lawyers Dey Do... Sef?, Lagos Mr. Richard Moxon Topic 5 The Global Finance and Distribution Environment A Discussion of the Sales and Distribution Process for Independent and Foreign Copyrighted Material Including Film, TV, New Media Markets, Sales Agents, Festivals and Distributors Mr. Kunle Afolayan, Producer, Director, Lagos Coffee Break Topic 6 WIPO s Work in the Field of Collective Management Ms. Donna Hill

4 page Topic 7 The Functioning of Collective Management of Audiovisual Works: Documentation, Membership, Governance, etc. Ms. Tarja Koskinen-Olsson, Olsson-Koskinen Ltd., Helsinki Thursday, April 12, Topic 8 Building Social Infrastructure for Creators and Performers in Africa and the Role of Collective Management and Trade Unions Ms. Tarja Koskinen-Olsson Mr. Tony Okoroji, Chairman, Copyright Society of Nigeria Ltd. (COSON), Lagos Ms. Chinyere Okorocha, Partner, Jackson, Etti and Edu, Lagos Coffee Break Topic 9 An Interview on the Current State of Film Distribution and Exhibition in Nigeria and English-speaking Africa Mr. Jonathan Murray Bruce, Executive Director, Silverbird Group, Lagos Topic 10 The Performance of the Nigerian Film Industry Understanding a film s economic potential for a producer, investors and donor institutions. Discussions will centre on improving professional structures, i.e. evaluating film rights assignment structures; markets, i.e. distribution support; and ensuring legal certainty. Mr. Richard Moxon Mr. John Ugbe, MD, Multi-Choice, Lagos Mr. Don Pedro Obaseki, Director, Lagos Mrs. Peace A. Fiberisima, Chief Executive Officer, Africa Film Academy, Lagos Mr. Ejezie Emeka Rollas, Actors Guild of Nigeria (AGN), Lagos Mr. Chike Bryan, President, Screen Writers Guild of Nigeria (SWGN), Lagos

5 page Lunch Topic 11 Structuring a Sustainable Nigerian Film Industry Discussions on the importance of developing domestic Nigerian film markets and on how to develop other channels for the sale of Nigerian film rights, including on how to improve the infrastructure and other facilities for collective bargaining and management in the field of copyright in the audiovisual sector. A Representative from NFC Mr. Femi Odugbemi, Managing Director, Chief Executive Officer, DVWORX Studios, Lagos Ms. Sandra Oyewole, Partner, Olajide Oyewole LLP, Lagos Mr. Fidelis Dukar, President, Directors Guild of Nigeria, Lagos A Representative from the Nigerian Copyright Commission (NCC), Lagos Mr. Osezua Elimihe, Independent Television Producers of Nigeria (ITP), Lagos Coffee Break Topic 12 Arbitration and Mediation Services Mrs. Chinwe Okonkwo, Secretary, Head, Legal Services, NFC, Lagos Mrs. Dorothy Ufot (SAN), Principal Partner, Dorothy Ufot & Co., Lagos The Future of the Nigerian Film, TV, New Media Industries Representatives from the Television and Broadcasting Industry A Representative from the NFVCB A Representative from the NBC A Representative from the NTA

6 page 6 Friday, April 13, Group A Consultations on the Performance of the Audiovisual Industry with Creators, (i.e., Writers, Directors) and Producers, Distributors and Exhibitors (Theatrical, Broadcasters, Television, New Media Stakeholders, etc.) What are the major characteristics and profile of the audiovisual industry in the Nigeria? One of the major objectives of the assessment is to determine the number, type and size of companies, major stakeholders, the employment and trade generated by the audiovisual industry. Moderators: Mr. Richard Moxon Ms. Tarja Koskinen-Olsson Discussants: Representatives from the Groups below: Group A1: Creators, writers, other film development and production stakeholders, i.e. Actors Guild of Nigeria (AGN); Nigeria Society of Editors (NSE); Screen Writers Guild of Nigeria (SWGN) Group A2: Producers, i.e. ANCOP, United Movies Producers Association (UMPAM), Association of Motion Pictures Movie Producers (AMP), Motion Pictures Practitioners (MOPPAN) Group A3: Distributors and Exhibitors, i.e. Independent Television Producers of Nigeria (ITP); National Broadcasting Commission (NBC); National Association of Theatre Arts Practitioners (NANTAP); Conference of Motion Picture Practitioners of Nigeria (CMPPN) Lunch Break Group B Consultation on the Performance of the Audiovisual Industry with Financiers and others similar Funding and Donor Institutions According to a set of indicators, explore the specific demand and supply factors affecting the output of the industry, its sales, and the value added generated by the industry. Particular attention is to be placed on the different type of royalties generated, collected and distributed by the industry and to the extent possible analyze the use of copyright in the operation of the industry.

7 page 7 Moderators: Mr. Richard Moxon Ms. Tarja Koskinen-Olsson Discussants: Representatives from the Groups below: Group B1: Producers, i.e. ANCOP, United Movies Producers Association (UMPAM), Association of Motion Pictures Movie Producers (AMP), Motion Pictures Practitioners (MOPPAN) Group B2: Distributors and Exhibitors, i.e. Independent Television Producers of Nigeria (ITP); National Broadcasting Commission (NBC); National Association of Theatre Arts Practitioners (NANTAP); Conference of Motion Picture Practitioners of Nigeria (CMPPN) Group B3: Financiers and other similar funding institutions, i.e. Nigeria Export and Import Bank (NEXIM); National Film and Video Censors Board (NFVCB); Small and Medium Enterprises Development Agency of Nigeria (SMEDAN); Nigeria Investment Promotion Council (NIPC); Advertisers Practitioners Council of Nigeria (APCON) Conclusion The Way Forward Summary of the Groups Discussions on the Performance of the Audiovisual Industry in Nigeria, and on the Proposed National Audiovisual Industry Strategy ( ) [End of document]